Thomas Golunski is an artist based in the south of England, working in primarily in Oils and Charcoal. Currently, he is exploring how traditional methods and techniques impact contemporary paintings and the way in which they are consumed within a digital sphere. Through an urgent and tense recreation of fleeting moments, Golunski seeks to explore the way illumination can be used to aid narrative storytelling and suggests not only the transitory nature of light but also a fleeting moment of atmosphere.


Whilst trying to find truth, comfort and distraction within the act of painting, I aim to break down my own autonomous responses within mark making. Through the process of deconstruction and reconstruction, I strive to understand how paint can be manipulated. I am especially interested in the medium specificity of oil paint, and as a contemporary figurative painter, my practice has become increasingly more focused on exploring the different spaces in which contemporary figurative painting occupies in a post digital era. Furthermore, I have recently been exploring different mediums of paint to try and understand their innate mark making properties. By doing this, I am trying to understand the different societal beliefs surrounding different materials including why they are used, when they are used, and if these assumptions can be subverted.

Whilst engaging in the reproduction of a digital imagery and digital marks, I try to question the surface and perception of paint through a symphony and cohesiveness within mark making through a cacophony of marks that acutely describes a representation of reality whilst remaining visibly painterly.

In my opinion, one of the best traits of an artist is one of a slow distraction.  A distraction of creation and a distraction of viewing, where both the viewer and the artist can create a connection to a piece of work that allows both to focus on the symphony of intricate marks which can include but isn’t limited to the tension between fast and slow marks, or the balance of thin and thick paint.

I aspire to control the chaotic and by taming the accidental aspects of mark making, and aim to try and recreate the correct impression of light. Furthermore, I aim to capture an accurate impression of a specific moment in an effort to depict the urgent recreation of the narrative and tactility of illumination within fleeting events. Illumination, and more importantly, the impression that strange, vivid and direct light leaves is key to my work.

Inspired by the work of James Whistler as well as contemporary art collectives such as the 404 collective, I want to continue pushing the boundaries of mark making within optical painting, whilst learning and experimenting with techniques in order to best take advantage of the medium specificity of different paint mediums such as oil and gouache.